Crete is an island filled with mesmerizing culture that combines music, dance, and costumes from a variety of historic periods. Dating since the Middle Ages, Cretan dances reflect the island’s varied influences. With each passing generation, new steps and music have been added to the traditional dances, making them even more exciting. The Cretan dances are popular not only among the locals but also with tourists who visit the island. Knowing about the different types of Cretan dances can help you enjoy them, even more, especially when you see them performed during festivals and other cultural events.
Cretan dances have always been a form of expression for the people of Crete and are an integral part of the island’s rich cultural past. Along with Cretan music, a variety of Cretan dances are performed to express their inner emotions and feelings, joy or despair, and, of course, love.
The historical Minoan dances, particularly the old pyrrhic dance, have influenced many of these dances. There have been numerous distinct dances with many variants across Cretan history, depending on the part of the island we are exploring or the circumstances that originated or inspired them. The most popular traditional folk Cretan dances are Syrtos (or Chaniotis), Pentozalis, Maleviziotis, Siganos and Sousta. All these are currently widely performed throughout Crete in local festivals and “panigiria”.
Listed below are the best traditional folk dances of Crete.
- Syrtos. Syrtos is a traditional dance in 2/4 time where dancers form a chain or circle with hands linked, led by a leader who breaks out to improvise moves. There are rules for men’s and women’s variations, with the leader doing turns and jumps and passing leadership down the line, symbolizing a captain and troops marching to battle. It is ceremonial and energetic yet modest.
- Kastrinos Pidichtos. Kastrinos Pidichtos, also called Maleviziotis, is the most vigorous Cretan dance with much jumping and leaping. It has 16 steps in 2/4 time, is danced in a circle, and allows the lead dancer to improvise energetically. The name comes from the region near Heraklion where it originated. It may have pagan ritual origins of jumping to drive away evil spirits.
- Pentozalis. Pentozalis is a fast signature dance with five basic steps in 8/8 time done in an extended circle. It was supposedly created by rebel leader Daskalogiannis for the fifth revolution against the Turks. It represents that failed but valiant effort.
- Sousta. Sousta has pairs facing each other incorporating ancient war dance elements. A man courts a woman with turns and jumps as she initially rejects then accepts him. Their interplay expresses a love story requiring skill.
- Siganos. Siganos is a slow walking dance with shoulder clasps and 6-8 steps. Its stately pace evokes Theseus exiting the Labyrinth after defeating the Minotaur. It likely originated under Ottoman rule.
- Lassithiotikos Pidichtos. Lassithiotikos Pidichtos is an energetic leaping dance from east Crete representing the dignity of that region. It is also called Stiako or Gerapetritiko. It is the most distinctive dance of eastern Crete.
- Priniotis. Priniotis is a faded dance once done in highlands like Lassithi where men and women separate and reconnect in a circle.
- Trizalis. Trizalis is another leaping dance from the Amari region of Rethymno. Its name refers to its three jumping steps. It is done with raised, bent arms.
1. Syrtos
Syrtos is a traditional dance in which dancers create a chain or circle with their hands linked, led by a leader who moves away to perform improvisational moves. The adoring Minoan dance of the ceremonial services is performed with this dance.
There are many melodies (musical tunes) that make syrtos particularly intriguing. The “first Chaniotikos” as well as the “second Chaniotikos” are well-known across Crete. These melodies serve as the foundation for current Cretan “syrtos,” also known as “chaniotikos syrtos” (from Chania). It is a ceremonial and political dance, both modest and energetic, that is a part of Cretan life and is performed throughout the island.
The first dancer improvises, but his twists, waist bends, and “talimia” (lifting one foot to the side and tapping it with your hand) are very few, modest, and disciplined in comparison to the others. When only men execute syrtos, specific regulations must be obeyed: the first dancer gives a bandana to the second dancer, and they begin dancing with their hands at the height of their shoulders, whereas the rest of the dancers walk behind the first two, keeping all their hands down.
The “first dancer” does some improvisational moves during the second turn, and a variety of movements in the third turn. The second dancer holds him for assistance as he leaps in the air to execute the “talimia.” He then moves from the front to the back of the dancers. The second becomes first, then the third, and so on, until everybody is first. This entire process represents the captain and his second-in-command “dragging” the fighters to the battlefield. In the same way that a commander issues orders, the second-in-command observes and learns while the rest of the team executes them. In the event of an accident or death, the second-in-command assumes command and is assigned a new deputy.
In this dance, it is highly typical for the Cretan woman to start dancing first. She alters her steps and executes “tsakismata” (waist bends) and spins, but she avoids overdoing or performing jumps and “talimia” like men do. She emphasizes her dancing expression, which is why she uses a few figures, opposite to what a man would do. When only ladies dance “syrtos”, they frequently break the circle, coming in front and doing turns over themselves with their hands-free before reverting to their original position. The traditional Cretan uniforms worn by ladies at festivals and other celebrations are distinctive in design.
2. Kastrinos Pidichtos or Maleviziotis
Kastrinos Pidichtos, also known as Maleviziotis, is Crete’s most vigorous dance, involving a lot of jumping. It has sixteen steps, eight in the front and eight behind,. It is in the 2/4 time signature. The lute is followed by the orchestra, which plays the lyre, violin, or ascomantura (a bagpipe-like instrument). A mandolin is frequently used to play it. This is yet another circle dance in which the participants clasp hands with their palms at shoulder height and their elbows bent.
It necessitates a great deal of energy and grace, and it permits the first dancer to perform freely. Many people see it as the most elegant and spectacular Cretan dance. The dance was created in the province of Malevizi (thus the name Maleviziotis), which is situated adjacent to Heraklion, or Castle as it was once known, and it gets its other name “Kastrinos” from there.
The dance is known as Kastrini Sousta in Chania. During the 1920s, the dance spread throughout the island. According to experts, this isn’t always a battle dance. The first theory is that it was a pagan ritual in which the dancers’ hops and leaps fell to the ground and drove evil spirits away.
3. Pentozalis
Pentozalis is Crete’s hallmark dance, and it is practiced all throughout the island. It’s quite vibrant and fast-paced, especially near the finish. The standard steps are five in order (thus the name, pente = five, zales from the word leap, with a play on the term dizzy) and are performed to an 8-beat rhythm. In an extended circle, the dance is usually performed with arms on the shoulders of people around you.
The dance is supposed to have been created by Daskalogiannis (the victor of the Cretan Revolution of 1770) and his tribal chiefs, who wanted to develop a new and aggressive dance to represent the fifth revolution.
It was supposed to be the fifth ‘jump’ against the Turks. Sadly, the revolution failed, and Daskalogiannis died tragically, but Pentozalis lives on as a reminder of his attempt.
4. Sousta
The Sousta dance, originating from Crete and tracing back to Ancient Greece, began as a war dance similar to the Pyrrhic dance. Around 300 AD, it evolved into an erotic dance performed by both men and women. Known for its quick pace, Sousta is often performed at weddings, symbolizing love and courtship. It starts in a circle with dancers holding hands, then transitions into pairs with small, rhythmic steps and up-and-down movements, giving it the name “sousta”, meaning “spring”. Men and women are placed in a semicircle and alternate movements before splitting into pairs. The dance essentially recounts a love and temptation story. The man makes attempts to the woman in a variety of ways (hugs, turns, and little jumps), which she first rejects. But she gradually gives in, and they eventually become one. The story is told through the performers’ movements and expressions, and the interplay between them requires a high level of skill and coordination.
Traditionally accompanied by the Cretan lyra and laouto, the music now includes Western instruments like the violin and guitar. Sousta remains popular across Greece, especially in Crete, the Dodecanese and Aegean regions.
5. Siganos
Siganos, a traditional Cretan dance, is known for its slow pace, with “Siganos” meaning “slow” in Greek. Dancers form a circle, holding each other’s shoulders, and perform either 8 steps in Rethymno or 6 in Heraklion, following a 2/4 meter at a walking pace. The dance originated during the Ottoman occupation, allowing Cretans to safely dance at Turkish feasts. The helical circle is believed to represent Theseus’ exit from the Labyrinth. Siganos often transitions into the faster Pentozali dance and remains culturally significant, especially among brides in central and eastern Crete. It is. performed by both men and women with a smooth, proud style and upright posture. Siganos is an essential part of Cretan heritage, featured at weddings, festivals, and other events across the island.
6. Lassithiotikos Pidihtos
Lassithiotikos Pidihtos is a traditional dance from the Lassithi region in eastern Crete, belonging to the “leaping” or “jumping” family of Cretan dances. With roots connected to the ancient Pyrrhic dance, it reflects the nobility and modesty of the East Cretans. The dance is known as ‘Stiako’ in Sitia and ‘Gerapetritiko’ in Ierapetra. It is considered the most distinctive dance of East Crete. As a “leaping” dance, it features energetic jumps and steps, embodying the spirit of the region. Lassithiotikos Pidihtos plays a crucial role in preserving the cultural heritage of eastern Crete and remains a key part of Cretan cultural events and celebrations.
7. Priniotis
Priniotis is a traditional dance from the highlands of Lassithi, Crete. Traditionally performed in a circle, men and women separate and reconnect during the dance. It is described as a “faded dance” as it’s less commonly performed today. The steps to dance Priniotis involve “three steps forward and a little turn”. The music is associated with the “Bra(i)mianos-Priniotis” tune, one of two well-known tunes in Lassithi. The dance has variations within the Lassithi area. Priniotis represents part of the dance heritage of Lassithi, though it’s less known compared to other Cretan dances. Limited details suggest it may be a localized or less performed tradition.
8. Trizalis
Trizalis is a Greek folk dance from Crete, belonging to the “leaping” family of dances, is also known as “Κουρουθιανός” (Kourouthianos). It is performed in the Rethymno prefecture, particularly in the Amari district’s Ampadia area. The name derives from “Tri” (three) and “zala” (jumps/steps). Trizalis is a complicated dance, with dancers performing it with their hands up and elbows bent. In Cretan tradition, it is considered the women’s war dance, revealing women’s participation in war and their support for fighters. Trizalis is similar to the Pidikhtos dance and, while originating in Crete, has spread across the Greek islands. It is. Trizalis represents part of Crete’s rich cultural heritage, reflecting its history through movement and music.
What are Crete’s Ancient Dances?
Listed below are Crete’s Ancient dances.
- Labyrinthical Dance. The Labyrinthical Dance, mentioned by Homer, is dated back to the Bronze Age, is believed to have Minoan origins. Labyrinthical Dance refers to an ancient Minoan dance tied to the myth of Theseus and the Labyrinth. It is linked to Theseus’ defeat of the Minotaur and the celebratory dance performed with his companions after escaping the Labyrinth. Homer describes this dance in the Iliad as performed on Delos. The dance was likely circular, mimicking the Labyrinth’s winding paths. In modern times, the Siganos dance, forming a helical circle, may echo this ancient dance. Though the original steps are unknown, the dance’s influence persists in Cretan cultural practices.
- Pyrrhic Dance. The Pyrrhic Dance, also known as Pyrrhichios, was an ancient Greek war dance with Dorian origins, primarily used for military training. The dance imitated combat movements by combining both offensive and defensive actions. It was performed to the sound of the aulos, with dancers armed and executing quick, agile moves to mimic battle scenarios. The dance was particularly popular in Sparta, where boys learned it from a young age. In Athens, it was part of gymnasium training and featured prominently in Panathenaic competitions. Over time, the Pyrrhic Dance evolved into a theatrical performance, often depicting mythological themes. Although it eventually declined, the dance left a lasting influence on later Greek dances, including Cretan martial-inspired forms.
- Dance of the Kourites. The Dance of the Kourites, an ancient Cretan war dance, is deeply tied to the myth of Zeus’s birth. According to the story, when Rhea hid the infant Zeus from Cronos on Mount Dicte, the Kourites performed this dance, whirling with shields and clashing swords to mask the baby’s cries. This ritual, connected to the cult of Zeus, symbolized his seasonal rebirth. The dance involved armored male dancers, rhythmic foot stamping, and was accompanied by drums. It significantly influenced later Greek war dances, such as the Pyrrhic dance. Strabo noted it as one of the oldest dances, representing a blend of religious and martial traditions in ancient Crete.
- Ariadne’s Dance. Ariadne’s Dance, an ancient Cretan ritual, is linked to the myth of Theseus and the Labyrinth. After Theseus defeated the Minotaur and escaped with Ariadne’s help, he and his companions celebrated by performing this dance. Homer references it in the Iliad, mentioning a “dancing floor of Ariadne” created by Daedalus in Knossos. The dance symbolized life’s intertwining paths and the overcoming of challenges, thus is performed in a circular formation. Archaeological evidence supports the existence of circular dance rituals in ancient Crete, and modern Cretan dances like the Siganos may preserve elements of this tradition. Homer mentions the “dancing floor of Ariadne of the lovely tresses” in Crete.
What is the history of the Ancient Crete Dances?
The history of ancient Cretan dances is deeply rooted in the island’s cultural heritage, with origins dating back to the 2nd millennium BCE. These dances were influenced by the Minoan civilization and held significant religious importance and were often performed as part of worship. Circular dances were common, with ritual male and female versions performed in specific architectural spaces.
Notable examples include the “Labyrinthical Dance”, linked to the myth of Theseus and the “Dance of the Kourites”, associated with the birth of Zeus. Crete is also considered the birthplace of the Pyrrhic war dance. Archaeological findings, such as circular platforms, seals, and figurines, depict these ancient dances.
How were Minoan dances depicted in the frescoes of Knossos?
The frescoes of Knossos Palace provide insights into Minoan dances, depicting circular formations that highlight their cultural importance. Women are prominently shown as dancers, often in sacred groves with male spectators. The figures, portrayed with natural poses and fluid movements, reflect a connection to nature. Dance scenes, tied to rituals, appear in religious contexts, with dancers in detailed attire, offering glimpses of Minoan fashion. Musicians playing instruments like the lyre suggest the integration of music. The frescoes place dance in sacred spaces, emphasizing its spiritual role, and often include nature elements, showcasing the festive, communal significance of dance in Minoan life.
How important is tradition for local Cretans?
Local traditions are deeply ingrained in the cultural fabric of Crete and hold great importance for Cretans as they serve as a vital bridge between the past and present. The tradition of Crete reflect its rich historical and cultural influences, including the iconic Minoan civilization, which provides Cretans a profound sense of cultural identity and continuity.
Various festivals on the island showcase long-held traditions in music, dance, art, and cuisine, allowing both locals and visitors alike to fully immerse themselves in and experience authentic Cretan culture and heritage.
Religious traditions like Easter and Epiphany carry deep cultural significance, bringing together families and communities in celebration. Food traditions utilizing fresh local ingredients also embody the spirit of Cretan culture and geography, with traditional dishes that connect people to the island’s long history.
Art forms like pottery-making and embroidery represent cherished Cretan crafts that have been honed and passed down through generations. Music and dances such as the mantinades folk songs and pentozali circle dances are communal artistic expressions of the Cretan soul. Even life cycle events like weddings and baptisms incorporate customary rituals that reflect the cultural values and traditions of the island.
Upholding these age-old traditions allows Cretans to proudly preserve their cultural identity and seamlessly share it with visitors from around the world.
